All Courses

PFENS R541-2 — Low Brass Class

PFENS R551-2 — Double Bass Studio

PFENS R553-4 — Orchestral Repertory for Double Bass

PFENS R561-2 — Orchestral Repertory for Harp

PFENS R581-2 — Trumpet Class

PFENS R591-2 — Oboe Class

PFENS R593-4 — Bassoon Studio Class

VAMUS 161 — Phonics

VAMUS 560X — English Lyric Diction: Graduate Review

VAMUS 561 — English Diction

VAMUS 570X — French Lyric Diction: Graduate Review

VAMUS 571-2 — French Diction

VAMUS 580X — German Lyric Diction: Graduate Review

VAMUS 581-2 — German Diction

VAMUS 590X — Italian Lyric Diction: Graduate Review

VAMUS 591-2 — Italian Diction

MLMUS 391-2 — Italian Vocal Literature

MLMUS 471-2 — French Vocal Literature

MLMUS 481-2 — German Vocal Literature

MLMUS 562 — British and American Song Literature

MSMUS 001S — Alexander Technique for Singers

VAMUS 160 — Introduction to Vocal Performance

VAMUS 170 — Text and the Singer

VAMUS 400 — Recital Practicum

VAMUS 501 — Vocal Arts Seminar

VAMUS 510 — A History of Singing

OPMUS 101-2 — Acting I for Singers

OPMUS 201-2 — Acting II for Singers

OPMUS 211-2 — Opera Studies

OPMUS 301-2 — Acting III for Singers

OPMUS 311-2 — Opera Studies

OPMUS 401-2 — Acting IV for Singers

OPMUS 411-2 — Opera Studies

OPMUS 500 — Opera Chorus

OPMUS 611-2 — Juilliard Opera (graduate)

OPMUS 701-2 — Juilliard Opera (postgraduate)

VAMUS 101-2 — Movement I

VAMUS 103-4 — Movement II

VAMUS 611-2 — Movement for Graduates

MSMUS 571 — Early Music Vocal Literature

PFENS J511-2 — Juilliard Jazz Orchestra

PFENS J521-2 — Jazz Ensemble

JZMUS R001 — Doubles for Drummers

JZMUS R002 — Doubles for Saxophones

JZMUS 321 — Jazz Seminar

JZMUS 411 — Introduction to Jazz Arranging and Orchestration

JZMUS 412 — Jazz Arranging and Composition

JZMUS 421 — The Jazz Community Project

JZMUS 500 — Creative Ideas

JZMUS 510 — Jazz Business I

JZMUS 511 — Jazz Business II

JZMUS 541-2 — Jazz Improvisation I, II

JZMUS 543-4 — Advanced Jazz Improvisation

KSMUS 540J — Jazz Piano I for Non-Pianists

KSMUS 542J — Jazz Piano II for Non-Pianists

MHMUS 111J — Jazz History I

MHMUS 211J — Jazz History II

MHMUS 311J — Jazz History III

MHMUS 411J — Jazz History IV

THMUS 111J — Jazz Theory I: Melody, Rhythm and Harmony

THMUS 211J — Jazz Theory II: World Melody & Rhythm

THMUS 311J — Jazz Theory III: Chromatic Harmony

THMUS 411J — Jazz Theory IV: Form

GRMUS J601 — The Origins of Jazz

GRMUS J602 — The Swing Era

GRMUS J611-2 — Advanced Jazz Composition and Arranging

CMENS B531-2 — Historical Performance Chamber Music

2 credits per semester
Fall and Spring
Faculty

Chamber music groups prepare for performance through biweekly rehearsals and coachings with Historical Performance faculty. Repertoire is based one of four national themes (Italy, Germany, France, and England) in successive semesters, with the goal that each student participates in two chamber music groups per semester, and performs at least once. Students may request specific faculty coaches and chamber music partners, and any combination of instruments is permitted, including, schedules permitting, the participation of singers and modern instrument students enrolled in period instrument lessons. Required of all Historical Performance Majors. 
 

PFENS B611-2 — Juilliard415

HIMUS P611-2 — Historical Performance Symposium

HIMUS 600 — Historical Performance Studio Class

0 credit
Full Year
Robert Mealy and Faculty

A departmental practicum in which students gain experience in the performance and presentation of solo and chamber music repertoire for an audience of their peers, under the guidance of the Historical Performance faculty. The class meets periodically throughout the academic year. Attendance required of all Historical Performance majors. 

HIMUS 611-2 — History and Literature of 17th- and 18th- Century Music

4 credits
Full Year
Robert Mealy

This course is an in-depth investigation into specific historical moments and national styles in Italy, Germany, France, and England from the 17th through the mid-18th centuries. As the course progresses through each country in turn, topics covered will include historical and cultural perspectives; genre studies; musical forms and structures; rhetoric; analytical methods and treatises; notation; improvisation and ornamentation; questions of historical temperament and pitch; and organology. The class provides a practical forum to address the various aspects of research, interpretation, analysis, and issues of style through performance. Required of all first-year Historical Performance majors. 

HIMUS 613-4 — Baroque Music Theory

Baroque Music Theory is a yearlong study of theoretical ideas about music from the 17th and 18th centuries through readings from primary and secondary sources and close analysis of musical works. The course begins with an exploration of the ancient Greek science of harmonics, the nature and generation of intervals from the monochord, theories of consonance and dissonance, and theories of mensural rhythm and proportion. The first half of the course will furthermore examine the theory of counterpoint according to Zarlino, tuning and temperament, the gamut, modes, and the emergence of the basso continuo. The second half of the course surveys theories of musical rhetoric, basso continuo and partimento as a compositional tool, the relationship between tonality and the modes, Rameau’s theory of the fundamental bass, 18th-century theories of phrase construction and rhythm, and more recent theories of galant schemata. 

HIMUS 623 — Performance Practice Seminar

HIMUS 624 — History of Early Music

2 credits
Spring
Thomas Forrest Kelly

How did we get here and where are we going? A study of the women and men, the trends and ideas, that arose individually and collectively to shape interest in the music of the past. Various “movements” and names (musique ancienne, Ancient Musick, Early Music, Historically-Informed Performance…) make it clear that that attitudes to older music have changed over time, and often reflect aspects and attitudes of their various times and places. This background study should provide material for a consideration of today’s attitudes, and perhaps a prediction of tomorrow’s. A parallel theme of the course will be a study of the development of musical notation from the Middle Ages to the Baroque, with emphasis on reading from original sources.

HIMUS 643-4 — Historical Improvisation for Non-Keyboard Players

KSMUS B635-6 — Continuo Skills in Context

GRMUS H603 — Explorations in Music History I

GRMUS H604 — Explorations in Music History II

GRMUS H626 — Intimate Voices: Chamber Music and Song

GRMUS H630 — Vienna: Music in Cultural Context, Part I (1815-1890)

GRMUS H636 — Schubert: The Final Decade

GRMUS H640 — Chopin and Liszt

This course will explore the lives, music, and cultural environment of Chopin and Liszt — contemporaries, friends, and, one might say, alter egos. The course investigates the composers’ lives as performers and the evolution of their musical styles against the backdrop of Parisian life and musical culture, and its cross currents with Romantic literature and poetry, in the 1830s and 1840s. Current scholarship and analytical studies on the music of the two composers will be considered, as well as their music’s reception history and its role in the musical culture of today.

GRMUS H644 — Brahms at Work: Learning From the Manuscripts

GRMUS H649 — The Operas of Richard Strauss

GRMUS H651 — The Modernist Era

GRMUS H654 — Piano Music: Schumann Through Scriabin

GRMUS H656 — Selected Operas of Richard Wagner

2 credits
Fall
John J.H. Muller

 

Richard Wagner was one of the most influential composers in the history of music, and both he and his words continue to be a source of fascination and controversy. After a brief survey of Wagner’s accomplishment in his earlier operas, climaxing with Lohengrin, this course will focus on his mature works: a “Ring” opera, Tristan und Isolde, Die Meistersinger, and Parsifal. These music dramas will be studied from a variety of perspectives, including Wagner’s use of myth and legend, the handling of leitmotifs, advances in the harmonic language, and the compositional process. Wagner’s deep insight into the psychology of his characters will also be explored. Pertinent biographical information will be included, especially with regard to the creation of the festival theater in Bayreuth. The works will be considered in both the context of 19th-century German culture and our own. The history of productions, from Wagner’s own time to the postwar neo-Bayreuth style to today’s Regietheater, will also be treated.

GRMUS H657 — Paris Between the Wars

2 credits
Spring
Benjamin Sosland

 

After the devastation of World War I, Paris emerged as one of the most vital and prolific creative centers in the world. The list of artists who called Paris home at some point between 1919 and 1939 reads like a who’s who of cultural history: Maurice Ravel, Pablo Picasso, Igor Stravinsky, Gertrude Stein, Ernest Hemingway, Erik Satie, and Jean Cocteau, to name only a handful. Much of their work was overtly subversive and even countercultural: this is the era when the poet Guillaume Apollinaire coined the term “surreal”; when Marcel Duchamp scandalized the art world by displaying his Fountain; when composers like Satie and his followers worked to free themselves from the weight of Wagnerian influence. This course offers a broad survey of the salient artistic philosophies that informed the fascinating cultural landscape of Paris between the wars.

GRMUS H659 — Gustav Mahler and the Transition to the 20th Century

GRMUS H660 — Music, Performing, and the Public

This course surveys the complex intersections between compositions, performing musicians, and public audiences from a broad historical perspective that runs from roughly the 15th to the 19th century. Topics discussed will include performative cultures of the medieval and Renaissance periods, the role of music notation and commercial printing in disseminating music, European music in the early Americas, the rise of public opera and concert cultures, and the changing status of the musical work throughout these developments. Alongside these broader topics, the seminar will also include discussion of repertoires that have been shaped by this dynamic. The course will be primarily discussion based: students will read and discuss recent scholarship on these topics, and situate their own performative experiences within the historical developments studied.

GRMUS H661 — Music Since World War II

GRMUS H667 — Chamber Music: From the Home to the Concert Hall

GRMUS H678 — Beethoven From the Enlightenment

GRMUS H679 — Romanticism, Pop Culture, and Media

GRMUS H680 — Women Composers Before 1800

GRMUS H684 — Foundations of African American Music

This course traces the evolution of African American music from its origins in pre-colonial West Africa into the early 20th century. Taking as a framework interwoven Black folk, classical, and popular musical traditions, the course delves deeply into African and African American approaches to music-making, including the ways in which classical forms can both preserve folk traditions and use them as a means of innovation, and the effects of racism and broader social movements upon musical genre. Students will complete projects that directly engage Juilliard’s longstanding affiliations with African American music and the diverse ways in which African American music shapes early conceptions of American music. 

GRMUS H692 — Gay Composers in the Age of Anxiety

In 2000, the Army Field Band issued a CD called The Legacy of Aaron Copland. The liner notes lavish praise on Copland, whose Russian immigrant parents, the notes claim, “instilled in young Aaron enduring values based on immigrant themes of independence, self-reliance, motivation, self-education, and an incessant striving for something better.” The notes fail to mention that Copland was a leftist homosexual, much of whose output coincided with one of the more repressive eras of modern American history. McCarthyism, the so-called Lavender Scare, and the threat of a global nuclear cataclysm coincided with Copland’s rise as the “dean of American composers.” Copland was in the company of other composers, many of them also gay—Barber, Bernstein, Rorem, Bowles, Thomson, Diamond—who composed works that we now associate with the enduring optimism of the American experiment. This course looks at the cultural context surrounding the composition of such works, and the composers who frequently held dual roles as renegades and cultural tastemakers. 

GRMUS H694 — Music & 20th Century Movements

GRMUS H695 — African-American Music Since the Harlem Renaissance

This course traces the evolution of African American music from the era of the Harlem Renaissance in the 1930s to the present. Considering interwoven Black folk, classical, and popular musical traditions and African and African American approaches to music-making, the focus of this course is the Harlem Renaissance—a period marked by rich literary, artistic, and intellectual production and innovation—as a site of convergence of classical, folk, and popular African American musics. Students will investigate how the artistic debates of that era informed the further development and critique of African American musics and complete projects that directly engage Juilliard’s longstanding affiliations with African American music and the manifold ways African American music shapes American music more broadly. 

GRMUS H696 — First Nights at the Opera